“~<@ID No, 6806a JOHN CAGE SONG BOOKS VOLUME I Solos for Voice 3-58 HENMAR PRESS INC. C.E PETERS CORPORATION NEW YORK LONDON FRANKFURTSONG BOOKS (SOLOS FOR VOICE 3-92) {for Cathy Berberian and Simone Rist whe ‘Stony Foint and New York City, August - October 1970 Tne. $73 Ferk Avenue South, New Yorks N.Y. 10016 Copyright @ 1970 by Henmar Pr:voLUME 1 ‘The assstance of Miss Marjorie Trenk (brary resenrch and preparation d the manuscripts for Solos 6, 10, 19, 31, 36, 38, 43), and that of Mr. Carlo Camnevalt ( preparation of the manuscripts for Solos 18, 25, 80, 35, 39, 47), and that of Mir. David Behrman (preparation of the tape for Solo 51) is gratefully acknowledged. Lam also grateful to the Gulbenklan Foundation (London) for having commissioned the work for its first performance (Journees de Musique Contemporaine, organized ly M. Maurice Fleuret) In Paris, Ocaber 1970, and to the "Peters Family", particularly Mrs. Welter Hinrichsen, Me. Kurt Michaelis, Miss Johanna Ribbelink, Miss Trudi Mathys, Miss Ton! Woodward, and Mr. Stephen Fisher who in different ways facilitated and made pleasant che completion of this composition -GENERAL DIRECTIONS ‘Tere are fifty-six parts for Book I (Solos for Voice 3-58) and thirty-four parts for Nook Il (Solos for Voice 59-92). ‘The solos may be sing with or without other indeterminate music, e.g. Rozart Mix and Concert for Mano and Orchestr ‘The solos may be used by one or more singers. Any number of solos In any order and any superimposition may be used. Superimposition is sometimes possible, since come are not ‘songs’, but are directives for theatrical activity (which, on the other hand, may include voice production). A given solo may recur in a glven performance. Specific diroctions when necessary precede each solo. When such directions have already been given, they are not repeated, but reference is simply made to them. Each solo belongs to one of four categories: 1) song: 2) song using electronics*; 3) theatre; 4) theatre ustng electronics”. Each 1s relevant or irrelevant fo the subject: “We connect Satie With Ihoreat. Given a total performance time length, each singer may make a program that will fll it, ven two or more singers, each should make an Independent program, not fitted or related in » predetermined way to anyone else's program. Any resultant silence in a program Is not to be feared. Simply perform as you had decided to, before you knew what would happen. + ‘Wireless throat microrhones permit the emplifieation and transformation of vocal sounds. Contact microphones amplify non-vocal sounds, e.g. activities on a table 0: typeuriter, ete + Designed by Paul Ketoff, via del Corso 47, RomeSOLO FOR VOICE 3 SONG WITIt ELECTRONICS (RELEVANT) DIRECTIONS Using the map of Concord given, go from Falx Haven Hill (H7) down the river by boat and then Inland to the house beyond Blood's (28). Turn the map 80 that the path you take suggests a meloiic line (xeade up and down from left to ight). "The relation of this Tine to voice range {s free and this relation may be varied. The tempo is free. Change electronics at Intersections and/or when mode of travel chenges. Use any of the following words by Henry David Thoreau as text (Jour sal Volume Il, page 143). "The different type-faces may be interpreted as changes in intensity, quality, dynamics. Space on the page is left for the performer to inseribe the vocal path chosen from the map. ‘This solo may be accompanted by a tape recording of hawk sounds. Copyright’ 1970 by Henmar Press Inc., 373 Park Avenue South, New York, N.Y. 10016Saw a large hawk circling over. a pine wood below me, and. soning epporonily that he mic DISCOVER HIS PREY BY THEIR FLIGHT ..WHAT A SYMBOL OF THE THOUGHTS, NOW soaring, nowFevcenineounc tancen and larger cireles, or smaller and smaller! It flies mot direetly mitner st is nouns, but savences by ctretes, Likea cure othe skesand ever circling, you cannot divine oOWhich Way it Woo vvunsinmemenesnm Wi pute of mo ZIONSOLO FOR VOICE 4 SONG WITH ELECTRONICS (RELEVANT) DIRECTIONS (SEE SOLO 3) Go trom Lee's Bricge (K6) to Emerson's Cliff (18). Use any of the following words by Henry David Thoreau as text journal, Volume il, page 54). ‘This solo may be accompanied by # tape recording of bird sounds.‘enone vie sok on the menlox; shich artes ovrinte pin smiaveasnithad been supported. by the sap in hs ren tHe DIRT. STBix svuines 10 115 ron soesateccr OF an ele -Dhant’s skiim...800 6 sire ninrsatillg AONE (NC Spiommersenin bncsronts. its poneili.ep riioar so unr THE REEDsswa sure, anit wren ewes pS Read erect bo wsrcu repreferriNG TO HIDE AMONG the weeds. the lowe -» WILLOWS AND THE »ul ook WITH THE CAPILLACBOUslaves and stems o me meen BOLL, CFC.1) SOLO FOR VOICE 5 SONG WITH ELECTRONICS (RELEVANT) DIRECTIONS ‘A song in eight parts: Wander over the portrait of Thoreau given, turning It so thatthe path taken suggests a melodic Ine (reads up and dovm from left to right). The relation of ths line to voice range is free and may be varied. Each parthas the number of time units given; establish length of time unity determining how fast part 2 (which has two ints) can be performed. Change electronics when moving, for instance, from hair to eyes... The texts are mixes (i Ching determined) of letters and syllables from Thoreau's Journal, Volume MM, page 182. Use English pronunciation. Each page, except the last, has three aystems. Space has been left on the page so that the melodie line found may be luscaileal. Pst eaveess Ite structural limitations ‘This solo may be accompanied by a tape recording of sounds of wind, rain, thunder ete.o wore He vo HOW CRE TO R ME PART OU +. Coe st “inkngST TRUE N ING GROWN CORETINO DISTHE IN E IED OF EID ND...‘atm wihoones In® ® wit me NOW MAS MEATS TH NOT sciOLS DweLL K tHe DT1SKOR A LOrA Ue mat a too 220@ ae whis not mct thts fore eat dwell rs log tis iesicomrvscr R IT O THE SELVES IN LY TER FE THIS NT2 TCH Ms05)26 9 ENNTSOLO FOR VOICE 6 ‘THEATRE (IRRELEVANT) DIRECTIONS ‘A series of numbers 1-64 each preceded by a plus or minus sign, one mumber sometimes written above another or others ‘The series may he performed completely or in part. ‘To prepare for a performance, the actor will make a mumbered list of verbs (actions) and/or nouns (things) not to exceed (64 wth wich he or she is villing to be Involved and which are theatrically feasible (these may include stage properties, clothes, ete, actions may be ‘real’ or mimed, etc.). If these number 64, the tables given below (which relate numbers less than 64 to 64) are unnecessary. In any other case, the appropriate table balow will enable the actor to identify which, for instance, of twenty-seven nouns and verbs the nunber 36 refers to. The minus and plus sigus may be given any Giificance that the performer finds nsefil. For instance, a minus sign may mean "becinaing with” or “taking off", otc.: 4 plus sign may mean “going to" o¥ putting on” etc. Or they may refer to the degree or emphasis with which someting is Gone. Change of type-face may also be so interpreted. Where nouns or verbs indicating expressivity are included in the list, expressivity is obligatory. Otherwice perform impassively. Total time-length and duration of individual actions are free. Copyrright(@)1970 by Henmar Press Inc., 373 Park Avenue South, New York, N.Y, 1001640 +58 Fee +60 +21 ais +46 ee + By - 31 OOS) +54 + 68SOLO FOR VOICE 7 THEATRE (RELEVANT) DIRECTIONS ‘Acseries of verbs and nouns each preceded by a plus or minus sign, one such sometimes written above another, ‘The sertes may be performed completely or in part, but not for longer than two minutes and fourteen seconds. Duration of individual actions is free, For further directions see those to Solo for Voice 6. 4ind + hat Tiedt tend tk —“sheheaofhisbreath” + serach + obvious inactivity rakes) + obvious inactivity ++ sound ofthe wind + look at something through something cle ~ talk — reading + using tothplcks and Aeenex (or other materials), build an object ressembling a wearSOLO FOR VOICE 8 ‘THEATRE USING ELECTRONICS (IRRELEVANT) oo") DIRECTIONS In situation provided with maximum amplification (n0 feedback), perform a disciplined action. ‘With any interruptions. Fulfilling in whole or part an obligation to others. [No attention to be given the sitaation (electronic, musical, theatricel).2 SOLO FOR VOICE 9 ‘THEATRE DIRECTIONS (SEE SOLOS 6 AND 7) Do not perform for longer than four minutes and thirty-two seconds. (RELEVANT)‘ + un chapeau + Take your temperature. haut de forme, Give yourself another une large lavalliére (each hour).— the blowing of wind + arose # Flyswatter .-u:SOLO FOR VOICE 10 THEATRE DIRECTIONS (SEB SOLO 6) ‘Number below a line with none above means: overlap with preceding activity or song. (IRRELEVANT)“52 + 20 +51 +62 +6 = 95 ak +45 + 58 a dass AG OR Ee ee ee +32 - 36 + 5 +O = OF bg clsc iyBA 33 aed tales ~ 18 64 28SOLO FOR VOICE 11 SONG WITH ELECTRONICS (GRRELEVANT) DIRECTIONS ‘Three pages: four systems without space between to a page. The vertical space gives voice range. Therefore, the notes are all in the upper range. Use free vocalise. Interpret numbers (large and small) as directed in Solo for Volee 22. Ifa dial change turne out not to be one, that is, a repetition, precede the repetition with a return to zero on that dial. Establish a relation between horizontal space and time (on the fast side). Let size of notes relate to singing amplitude ‘and dynamics (aot electronic amplitude). Conystght@ 1970 by Henmar Press Inc, 373 Park Avenue South, New York, N.Y. 100164 SOLO FOR VOICE 12 ‘SONG (RRELEVANT) (Solo for Voice I for Arlene Carmen) DIRECTIONS ‘Any amount of the material may be sung (Including none). No part onze sung {s to he repeated. Bach page has six systems. ‘The time-Length of each system is free, Given a total periormance time-length, the singer my make a program that will (it. Notes are of different sizes: generally small, medium and large. A small note is either Ps Pps P in the dynamic range or short in duration or both. A medium note is elther mp, mf in the dynamle range ‘or medium in duration or both. A large note fs elther f, ff ff in the dynamtc range or long in duration or both ‘note (meaning the pitch given is to be sung at some point after the phrase beginning and before the phrase ending); fr end with the note (meaning the pitch given Is to be the end of the phrase); oF begin with the note (meaning the pitch given is to begin the phrase), The lines of the staves are far apart. Where the notes are not centered In the space or on the line, they suggest microtonal alterations of wonventional pitsh. Ina relative sense, space on the page equals timing of performance. Notes below a staff and attached to it by a stem are noises to be produced vocally or by any other means. Sprechstimme may be used where the text has some length (in the case of these noises). The text may be omitted where some other sound producing means than the voice Is chosen. Crescendo and dlminuendo marks are lone or combined. When combined, the singer may make any combination of two or more of them (espressivo). The amount of crescendo or diminuendo is free in both intensity and duration. The absence of these signs means constant ‘dynamic level. A virtuoso performance will include a wide variety cf styles of singing and vocal production. Use any clef sign desired,49 Da Ww = gare eo Se paENS TAFE) UNDWALD JOTREGARE a Ee44 LETTING Sige grate45 = =46 SOLO FOR VOICE 13 SONG (IRRELEVANT) for Cathy Berberian DIRECTIONS (SEE SOLO 12) Five systems to the page. (Use any clef sign desired.) The words are from various books on mushrooms: Copyright® 1970 by Heamar Press Inc., 373 Park Avenue South, New York, N.Y. 1001648 OD vearaicuioncer repreesreur 97 rag ERATED aa49 ° ia STELLA OT cies rN ~ 0 sinew 2. = Sal = ae a a ia a — = = gots, a St sors a = = pouetuy coghorans aresvssenan par a, Ione A =7A [Ruy Gene os GELamsog 554 SOLO FOR VOICE 14 SONG. (ORRELEVANT) for Simone Rist DIRECTIONS (SEE SOLO 12) Four systems to the page. Treble clef or an octave lower. Equal space is given each chromatic tone. Thus the lines of the staff are not equidistant. Conventional pitches are marked sharp, flat or natural. ‘The absence of such signs means that the tones are not at conventional points, but mlerotonally between. The words are from September 1970 newspapers. CConpright @1970 by Henmar Press tnc., 373 Fark Avenue South, New York, N.Y. 10016son MABE HE AT SENLER,~rheas = ed a be sowwerains eoArta E rein! Kean STE 55SOLO FOR VOICE 15 ‘THEATRE USING ELECTRONICS (RELEVANT) DIRECTIONS. Using a typewriter equipped with contact microphones (four channels preferably, speakers around the audience, highest volume without feedback), typewrite the following statement by Erik Satie thirty-eight times Liattiste n'a pas Te droit de disposer inutilement &t temps de soa auateur.SOLO FOR VOICE 16 DIRECTIONS (SEE SOLO 11) SONG WITH ELECTRONICS (IRRELEVANT) 57162 SOLO FOR VOICE 17 SONG wit 1 ELECTRONICS (RELEVANT) DIRECTIONS ‘The text is a mix of remarks about the "telegraph harp" from Volumes 11-IV of the Journal by Henry David Thoreau. Use electronics to so transform the voice that It ressembles singing wires, not strident, but whirring (aeolian harp, ‘musical saw). The notation relates horizontal space to time. Beams are slurs. Commas above the notes, periods following words, are phrase endings. High, middle end low are differentiated; size of note may be related to changes of amplitude, dynamics. “This solo may be accompanted by a tape recording of telegraph wire sounds or by improvisation on a musical sew equipped with mike.63 No DAG, TAT WORMS WULAT — THATIRLLTEM 7 DaNTLSOUNDE. ° L Sa PR pila eas mpi ‘LONG , WHAT MORE Woy; | DER: FUL THAT A eee Jets Satie WIRE «= STRETCHED «BETWEEN TWO FOSS?) ING STRINGS. omer. J ze * a wu Be % Teh E- GRAY 22MIN a ati: A TE NORTK.THR Tele e aaa = = smal . RNPK DOES soroe SOUND. AE . o- trSOLO FOR VOICE 18 (Cheap Imitation No. 1: 11) DIRECTIONS @means: make an electronic change. Use French pronunciation. SONG WITH ELECTRONICS (RELEVANT)66 pee ee Ske CAL DAMON DAE SE- LAS PIS Hig= tee te bo De May th ToT LE PRY LA YER POT BOE pe a fatpaip— be A A WaT ‘ANT, DAT-TEN No po-pRE ET Qui DE ET PAS LU AT ME SE Vita ME EN--REA 2a MOUS AG),GH eS La Bats. DE TE DE FERS S0- De MOUS THOU MG capes} & Vi NAT, XANTR PE ET : a E a a ee Oeltag te t fle SE AD PB, ANTM UH eT ak eB DS Te Sh —— >, = 155s tn BA, Sok TANT SA SB k ST, we VE set A pt of Sigg lnp hs te gig tg ORE TEs GUE GA, ROT UB MDE SAEC TAA, TET 10.. cho Uf $e TaAS-ce, Saas MES Ar MIS, — QUEUE ME CER Fo PAN PEL Le ET, 19 4 A RL DOD RA a ‘Vee JE ET MER: EUR VEL LA here DOWN cb son ort Sek we LAU MAS ams Lk et ME Araf AMA TE TH Me Bose Jade Ce opise wie er gue coe $00 %, Vous Ne Me mE LE Je sv 268 POS AN SMR A GUE OU A DER. Yow ME Dow caoF ae = a SS ay 7 , mt @ A aL A, fd GER GDR IATA Bi AOR oY, EOE UTORRENT fe GR sat Ra) De. ® Swot us WROD SEN Lp NF Br BE aURS $9 1) 20S TE RE Pop Mt TM OE CRE GoM stoi wi OR OE Leh MAS Ag OOM aie tpl bel bags ad Te A SE GS A TA AU wo A ES [opsibe Pepa ba hep] Pe Le wip Une WS i BYR ee 61 SOUS ORE DE EN A PRS CRA TBs70 REt- S8- TRAIT, SIT SON SR WT LSA AS GRAND MERE HONS PL CHOSE een UT LE TEAS SER W-CAR PRES + Trés lent PRL OME JE ORE GUA AD- BE AL TRES FAD NOR JES oR PE: bie Shere ee es B= beabe— ra a a NIB PAR DRE LOR TRATS DES MA OS, i, Le wT Par PR B oT Me MA Mag TOE POUR, TOU VE DOK MEL: $05 LE eT TE AUG OT SUIT DEAR LE PUG VE cq) DE JA HSMN, SNEa pip=s= ey — fp Sus RE ET Be OE TRE OE et ‘VeNS Th SAG, MAN-TE- Gus awit o£ TU CE JE No A , De ONE Sof BE VL TA eR MEA A tempo OME RT HEATHEN TOR Sk DA BY UR DNIT-ROS BAY TORE ET SE ME ASEM BODE ET AAT TOR VERSE= pst Yer ok, YL, Sire SS @ tive Tome Eos 1 ae oT TH 2 ae oT TE MT MAN At tm COR Ba} Me DE Cae PD! mp. Sa xp ut 10 Be Gah ce ne motel) ta A Sat ET at LE ate, a Pet if app oe oat mon £ a4 3 nos 8 pola Le73 var oe ue Fay co. ONE: PE BR Gd UPA DIS TAT YE TT, Se a Se Spthe beige | Set eS ES 2 vite Is so ON TOT We SO ROTO, eM, Noor, dk 7 ue Se HS ROT BE? RE Me COR LA TL em? A RE afar “copa ce HS at W Ep pepinciy Dg pp Do TOTS WAR AS BES at, A cal Wei me ET TOL TE | UT USA, ur Meas Gt pO LEO.see ctM Beit Seal a a SL Dh A WE A GUE EU PAS Mois OTIS cE ORR LA pth ‘TWOOR BE- TE LAR MES Op NIB EN G-L6 | MASYANTIOS RE ESET a. ET A OT, @ aS, eS =p 0-tP 1 tp tp sat sé A) POR JERS Pos PED MINTED ———— ae ae php sige tete=e—e'p hp — pb RaIeaS DG Je MAL MS LE CIAMIET Of AAS HER Le ue, $0- TE MAS, ® Saust-E8- ar SE tA dale LSP ait SS & ee ere ao erg at piped ae papi pp gE SODA Get 65 7E GUL DT IA BESTR SA GM SIMET AE Dh OHH. SE Dia EMbar ipie pr eT Epa} ETA CIEL PHD GL TEMS SN BRO $65, =g=tate aS bes Uy oA76 (DT $0 TEs GRAS Ak A tempo rit, (poco). -. ie te aes “es GOTT uk eT HOO CET = ee BER S88 TMIENT 385 GRD gomaT < vor tA, ches aA Te, Pa ME ORIT 1A pe bE WE NOTRE A. = Ts mas SE iS eT OH WDSOLO FOR VOICE 19 THEATRE DIRECTIONS (SEE SOLO 6) Number below a Tine with none above means: overlap with preceding activity or song. (IRRELEVANT) TFLoge Mae Oe 9 + 59 aa - 56 - 22 alia 391413 aoe aA- 37 44 + 5/ mae: - 60 +1 +20 VE - 60 -45 ae oe+13 33 - 28SOLO FOR VOICE 20 SONG WITH ELECTRONICS (RELEVANT) DIRECTIONS (SEE SOLO 3) Go from Clematis Brook (K7) to Lee's Hill (F5). Making any repetitions desired, use the following words by Henry David Thoreau as text Journal, Volume IIl, page 377). atwnineitormeDS,% SOLO FOR VOICE 21 SONG WITH ELECTRONICS (RELEVANT) DIRECTIONS Let the upper and lower extremes of the symmetrical shape relate tothe upper and lower extremes of voice register. Let horizontal space relate to time. Total duration: 40 seconds. ‘Take elther the upper or lower line, changing t0 the other, if desired, at a structural point (these are given by vertical lines). Make one very gradual electronic change (a dial “glissando") from the beginning to the end. Make any use of the text given (by Erik Satie), repeating words and phrases freely. Copyright @ 1970 by Heamar Prese Inc., 373 Park Avenue South, New York, N.Y. 1001685 SOLO FOR VOICE 22 ‘THEATRE WITH ELECTRONICS (RELEVANT) DIRECTIONS Regular and irregular breathing (inhaling or exhaling as necessary) through the nose or mouth. Regular means: even, or changing gradually. Irzegular means: uneven or changing abruptly. Duration is not notated. Large numbers (1- 64) are to be related to the number of available dials (use appropriate table in Solo 6). Smaller numbers (1-12) indicate dial positions as on a chronometer. Begin with any arbitrary setting (Including "ott" of all dials. Copyright 1970 by Henmar Press Ine., 373 Park Avenue South, New York, N.Y, 10016Nose MOUTH %' 56 ‘REG, 90° 35" - a ‘ 4 3B oF 275 2 ae hi ae n 4st 4 poe Li VA i / INES een INAS ou ae ge Nek a ag ueSOLO FOR VOICE 23, ‘THEATRE WITH ELECTRONICS (IRRELEVANT) 0°00" No. 2 DIRECTIONS. On a playing area (e.g. table, chessboard) equipped with contact microphones (four channels preferably, speakers around the audience, highest volume without feedback) Play a game with another person (e.g. chess, dominoes) or others (e.g. scrabble, bridge). 87SOLO FOR VOICE 24 THEATRE WITH ECTRONICS (RRELEVANT) DIRECTIONS (SEE SOLO 8) Engage in some other activity than you did in Solo 8 (if It was performed).SOLO FOR VOICE 25 SONG WITH ELECTRONICS (Cheap Imitation No. 2) DIRECTIONS means: meke an electronic change. Use French aronunetation. (RELEVANT) 8Mouv.t de Marche SSeS ou Our Ne Nout mf A yo A pum Oboe bamies cg im} WTSOLO FOR VOICE 26 ‘THEATRE WITH ELECTRONICS (IRRELEVANT) 0°00" No. 28 DIRECTIONS (SEE SOLO 23) Play a game of solitaire (or play both or all sides of « game ordinarily Involving two ox more players. 492 SOLO FOR VOICE 27 SONG (Gheap Imitation No. 5) DIRECTIONS Large numbers mean number of quarter notes of silence. Copyright 1970 by Heamar Press Inc., 373 Park Avenue South, New York, N.Y. 10016 (RELEVANT)3 TREES JRE Las THER, LENS SSS SS 8 SMR. HUES HN CEAR COOL AR, art. spe "Tk Wak, SOATION oF Ae ™!SOLO FOR VOICE 28 ‘THEATRE WITH ELECTRONICS (IRRELEVANT) DIRECTIONS (SEE SOLO 8) Engage in some other activity than you did in Solos 8 and 24 (if elther of these was performed).SOLO FOR VOICE 79 DIRECTIONS (See Solos 12 and L4) (IRRELEVANT) %Er ND Stee neem TERSTA 7 a as ws eu ote ou98 SOLO FOR VOICE 30 sono (Cheap Imitation No. 1: 11) ‘Text is a collage from Thoreau's Journal. copyright 91970 by Henmar Press Ine., 973 Fark Avenue South, New York, N.Y. 10016 (RELEVANT)9 = WSS ARE BIRD. M6, SU. ER SOMRLES, ep ep DTH BOE. £5 AN) TREE} ARE TARS- GY Ment, FEW APE. OWES On SD-Y BMS, AMERWT VP DF TD TE —— = Jee ds = SES 3B FROM TOs, BURST UKE A STRAM, —-HAGISG A WORLD, ROW LARGE 90. YS). TEN" TT BS, AD HOW FAR? "TO MY SUR. PRISE, MEAN SWERED THREE RODS. BON i THE LW ER STARETS OFpa as OS TE ANT MOM UNDER TH SHOWS OF WIR. TER, TAs TSE Hist, Au PANTS OF Mae TURE SEE AD HER WORMS ALUMS A BIT, ma$04 _— =e Se ME WATER, WHER oT AIR, OME THRE BY TS Moms R, ae Sy ri Tomek TRAM, HOME HE oF igi = AR A fom THANG AM, 21S THY HS UU ET CREAKS A Lote THE SHURE, SUK Ue SS as trés ralenti ( Pre, HOARE AY STAR TE ate THe CES TAAL PARTS RAVE CED. UP RAN MOKED; OT SWAP. ral inner Goup-AN-=S IN A FLOK, COLD AR, GREAT MUN BERS OF ARH ES LED,SSS SSS 2 : spe Soe =u 16 AM BAK: La, Nat: YB TR ALES, BAK WTA WATE os Wath rit. _ Atempo: = ape | = = = = == ce = fees pa = SEW COUN: TAY WHERE THE ROCKS: ‘HAVE “NOT BEES DURAED. MAT BOS WE VA COU AS WILLOW, moma ee =f : 5 = SS ot exoM M6 HOO GATE AS THE ATE of 4 twOT se DHAT IF Ta, wo 8 be Sa ee FT Ale 50. $rwUQGA SMALL OMK , SORE MG OF © THE rit. A tempo ee = = | ts a a (O85, AG PER, FAR iN) ALL DA. Dis BEAR NO AGREES IT. TMB HONE pope be be typo pe bebe be = SSS YEDORKS TS «SHUT. WP, HED DRES IT 0. THN DORK AS THOUGHT AND AT HOME TH THE TREES. THE BIDE Pe Sie = oe ways oF POT TG A BOUT, SURPRISING, THS CLUS TER OF LEEK SIDS On ROCK Tage ARE103 =e =e ——_- ' ote e 2 as YY SANDS. "HUB aM IRINEAD We TER LL TES, We TE ule HS, BOR ENS, | aT OOF VM, # Te SR OE GOW WE OME AP THED 1 ae TURE, Bu DE TA, OR uosr, TOA as PEG Gb, FRO-ZET TD DEM, © THIS-DER AD Legis. Wis 1B par, “dean be = Sm So WH SURG. A He WW, AR TRE BW ER, oe: bi TE BN Tk MCLE TOO PADI WHE, © oT GUMTE MD TO. DY, SNE TRE =—— pp a meee atresia rel eee este ee404 = = SSS == oS TORR. «PEAR TATE | OBE. DARK SS5OF CLOUD WITHUOHT-ER Em)- Bb. ‘WNT TO 70, WHATYA A MAS DO AND NOT BEA sD oF oT? CONT. AB MAR: ROW y 2 pao Bea. + b: LiGAT LINES. TT 1% WORTH WHA © TO HEAR THE WDHD Bow MM Woon TO-DAY, TH FIGLD BAN TAN, THE ; 4 (NAR: BOW OT TON GRAS, 70> BM OO ‘PIPES sul Ms UP ORY ams, LETHE WD CAT iSOLO FOR VOICE 31 ‘THEATRE DIRECTIONS (SEB SOLO 6) Number below a line with none abore means: overlap with preceding activity or song. (IRRELEVANT) 105106107 51 + - 34408 SOLO FOR VOICE 32 ‘THEATRE DIRECTIONS Go off-stage at a normal speed, hurrying hack somewhat later. Copyright 9 1970 by Henmar Press tne., 978 Fark Avenue South, New York, N.Y. 10016 (IRRELEVANT)SOLO FOR VOICE 83 SONG WITH ELECTRONICS (RELEVANT) DIRECTIONS (SBE SOLO 21) “Total duration: 2 minutes and 30 seconds. Make four successive very gradual clectronic changes from the beginning to the end.SOLO FOR VOICE 34 SONG. (RELEVANT) (Cheap Imitation No. 6) “The text is from the first paracraph of the Essay on Civil Disobedience by Henry David Thoreau. copyright @)1970 by Henmar Press Inca, 373 Park Avenue South, New York, N.Y. 10016MD SY pao elie > a aD WES seca a aa “Reh BEER AERR AD ES eg ARE NNR Dann Benue Bag aT Russet Sd 3 Super Ieee ‘Kap GEN ODOF GTTENA- BT hts Day Aa ik Pages uA THEY NE, Tarawa. Wis? UWL ETE WD A” EA Re OTHE HepomteY THKy eT HAVE.uD) S010 FOR VOICE 85 SONG WITH ELECTRONICS (RELEVANT) DIRECTIONS. 32 ABA's. Having sung any one of them, the singe may substitute its A or 8 for any other A or B providing the latter ‘Aor B belongs to an AABA already sung, ‘The text is from the first paragraph of the Essay on Civil Disobedience by Henry Devid Thoreat. Sing in an optomistic spirit as though you helieve what you aze singing, and in such @ way as to "plur' both the piteh and the text as though your voice had not been trained. Use electronies to exaggerate the rhythm. I another singer is already singing this solo or Solo $0, do not take the same or any easily related tempo. Let this solo he used as an irregular "refrain" in a given performance. Most of the A's have eighth-note upbeats. ‘The third measure of each A Is incomplete, completed ty the upbeat of Its repetition, by the upbeat of its B or by the upbeat of any othor Aor R (see above). ‘The i's are notated and to be used similarly. If possible. the text should be sung by at least tne singer in the language of the audience (making melodic changes where necessery). Before singing this solo, raise tither the black flag of Anarchy or the flag of the Wtole Earth. Having ralsed the fleg, do not lower it at any time during the performance. Any number of flags may be raised during a single performance, one before each performance of this solo, Copyright 1970 by Heamar Press Ine., 373 Park Avenue South, New York, N.Y. 10016be Diede P— ——— eae gov — ernment at all Payless S€ aap phot ps Spee bw ba oe The best govern. men, the best govern. nent fs no government at allGre ready fort, eead.y for it Petpet Senate at eterna meme aT” ‘and that witl be, and that will be what we will have when we ore read. ‘ond that will «= be the. kindof gov = een - ment well Reve when we ore ready fr it, teod.y for it, ready tor it fabs ie be pb pdb ‘nd thot will be the kind of govern -mentweli fave, and that will be the kind of govern.ment well have Die De M546 — a pos 0 es =nd that wil be what we will have afi is Is Sea p—pete bats be! nd that will be what we will have, ond148 best form of gore ern rent is at all, at al (ro aSe eee fave when we ore ready ) eae when we are reaty that, and that, will be, will be ir=be= B= ene when we are read =,490124 Sa Grd when we are read. y that will be the form wel have ips pee Gand thot will be the kind yore ernest. that we will SS SS and thtbat is the th the form w welt hove and Mot (Oh), that will be == cand thats the Kind, thatthe kind, the kind welthave hen? When22 = aL The best form of gonern= ment is no The best format govern. ment is eee = at ie the kind we wll nave phe eae ures 3 $= Sea La ae The best frm of government — the best form of goven.ment— IS. na. format govern. mt a ee er ae 6 St aSpee pepe ppp ip Gand tot will be the kiné of govern ment wel havewhenwe are ready for it, for it, far i SS we are ready for it Ppa =o =| and thet will be the kind well ave, nd that wil be the Kind well have when we are (we are) ready. SS Sa ae p= Gand thors the king that we will have, ard thats the kind, nd thats the kind je a foe Sse = ‘and thot wil be, and that will be the kind vel have when we are read.124, a 28 The Bestformof gor. errant a BS The best frm of gov. ernment se Pipe FT pee The best form of gov.ern. ment is 0 form of govern. ment (no. sokernment at all) 32 Baacre rere The becl_ form of government i nom form— ot govara.ment at al.125116 SOLO FOR VOICE 36 THEATRE, DIRECTIONS Number given ts number of things eaten or drunk. can drink without esting, but I certainly can't eat without drinking.” (ORRELEVANT)“17 SOLO FOR VOICE 37 ‘THEATRE (IRRELEVANT) DIRECTIONS Leave the stage at a normal speed by going up (Aying) or by going down through a trap door. Returu in the opposite sway very quickly.128 SOLO FOR VOICE 38 ‘THEATRE, (IRRELEVANT) DIRECTIONS (SEE SOLO 36)129 SOLO FOR VOICE 39 SONG WITH ELECTRONICS (IRRELEVANT) (Cheap imitation No. 3) DIRECTIONS ‘@means: make an electronic change. Text is Die Hoffaung (Fr. von Schiller), A few words are omitted.130 Etwas geshwindt ae eS Se yy eed aS RE pes UN TRAY MEN EE SHEN “VIEL ‘Bes. MAN KONE OT GL Spee =e eS sian Guba Li cien, TEL SEAT MAN 9 REN MEX OD. ie SS Se SSeS aA oe ET OW AT WD teh — = be ie =e Doth 022 MENSCH BOFFT «IM ‘MER VER- es ee = Ser Janae De HOFF SUNG FURAT TS bea Seater a) FLAT TERT PES ADH UGH tk «BEM, Desh. Late GEL THAT OR. a ae gatp= pd y= [beh Mt EM GARG HIRT BE Ge son, 8 Waypa Spied MRT DE Hor: Fans DEoy] SOLO FOR VOICE 40 SONG WI"H ELECTRONICS (RRELEVANT) DIRECTIONS (SEE SOLO 22) Interpret numbers, large end smal, as in Solo 22. Set all dials arbitrarily to begin with, ‘Then turn gradually from wherever it 1s to position given at end of first phrase, In silence between phrases sat dials at points given, leaving all others where they happen to be. Continue similarly. Where there are two dials to be turned, turn tiem simultaneously . ‘Two pages, four systems to a page. Relate vertical space to voice range, horizontal space to time. ‘The text is from a list of Indo-European Roots. Use It freely in relation to the melodc line given.NITRO PEL: CWT SN, $5806 FF (i att eS sf Cap vo. eR AEM AA Bd ea ‘SED-STER GER By rem CuN AOE r RIF ee heYALLES WER So =i) aya naa ig aN apeSOLO FOR VOICE 41 DIRECTIONS: Produce feedback three times. THEATRE WITH ELECTRONICS (IRRELEVANT) 139{6 SOLO FOR VOICE 42 DIRECTIONS: Produce feedback twice. ‘THEATRE WITH ELECTRONICS URRELEVANT)SOLO FOR VOICE 43 ‘THEATRE WITH ELECTRONICS (RELEVANT) DIRECTIONS Improvise a melody using the following text by Erik Satie (four times) recording it meanwhile. Let the first ime be approximately 17 seconds, the second 49 seconds, the third 52 seconds, and the last 83 seconds (total duration: approximately tyo minutes and fifty-one seconds). flay back the recording and then sing it recording ita cocond time, ‘Then play both recordings simultaneously. COPYRIGHT © IS}o. BY ZeNMAR PRESS Tw 375 PARK AME SivTH, HW YORK,NY, 40003et PA; 7m LA Faw E DE La ceELA Mest adveNU musIQUe .e cOUt CELA Meee aducy — FAUTE DH) in mux.440 et tout cella mes dvexU Par la Fav 2 A TWituen.:et tout cesx srosz fen par la its de la musique.“42, SOLO FOR VOICE 44 THEATRE, (IRRELEVANT) DIRECTIONS Go off-stage at a normal speed, returning somewhat later also at «normal spect.4a SOLO FOR VOICE 45 SONG: ORRELEVAY DIRECTIONS ‘This solo (like the others) may be used in whole or part. Its eighteen pages may he used separately from the other solos by s singer or shared by two to elghteen singers to provide a program of an agreed upon length. (They may be sung with Atlas Eelipticalis and/or Winter Musie and an electronic version may be made using feedback at mes.) “The single staff is provided with two clef signs. Where these differ (treble and alto), ambiguity obtains in the proportion indicated by the two numbers above the aggregate, the first of these applying to the clef above the staff. Dynamics are free. The given fcagmentation of staves arose simply from an absence of events. Sing the notes of an aggregate in any order using the vocalise (made from Solo for Voice 2) to make a phrased event as rapldly as possible. Maintain the relation of space on the page to time of rerformance.=" Tones may be omittod if desired or if necessary. In their place make breaks In the phrase. ‘any single tone of single tone of an aggregate may occasionally be extended indefinitely, being interrupted by breath or by intervening aggregate(s) only to be reestablished. “4+ Let the duration of a staff be at least two minutes or a8 much as eight co twelve minutes. The use of accidentals in the composing process often produced "repeated" tones, e.g. E flat and D sharp. In general, 1 performance should be planned in advance and the music renotated ta free the performer from its obscurities. Copyright® 1970 by Henmar Press, 373 Park Avenue South, New York, N.Y. 10016BFawe 16 ye | LE DKe ts a8 gre REKLESAe} Rn by i. = be be ue oe ¥ oe stas Pat iersT 5686 26 i 5UbAY 23 a 85 ea ta E be AEIRH TEM BE 9 fe — PHSAaB i wee rhe ber a ‘ee 8 16 34 , te pie tae b= Auawetty © LokEg) SL 4a a8 Fv-ebodK 6 alkbet Qarvesen ofl AveS54 4 a pie TL) oreo-ray152155 “tlSuELky 455a 5 WEI LPHRYsae 8 aya 5 ae ta MEFLIPDS HABALVLP : A Ee Fe FA158 é fe le Ap or e 23n0 ee Ad yo ae b sete J Ska i, A “DSFSat 08dolSOLO FOR VOICE 46 DIRECTIONS Prepare something to eat. THEATRE URRELEVANT)163 SOLO FOR VOICE 47 SONG WITH ELECTRONICS (RRELEVANT) (Cheep Imitation No. 4) DIRECTIONS ‘A means change amplitude control. M means change modulation means. Copyright® 1970 by Henmar Press Ine., 373 Park Avenue South, New York, N.Y. 10016Allegro ass steaeseny fesse ea eee EX GO LY 00: MM THD HAS HER GR TK > YK Seal rut pe! PP Ap467 SOLO FOR VOICE 48 Sona DIRECTIONS (SEE SOLO 45) For the texts ofthe fifth and sixth of these elght pages use French piOnunclation; for the others use English pronuncia~ ton. (These eight pages may be performed with Atlas Eclipticalis and/or Winter Musie by one singer or shared by two to eight.)Ad —_ bes THOVEH -0-0-ER-THS-OF THOT. AT ‘You-Mor-€A$ pte bP 5, a == » 2a wet ae , a ca fe i DE-T-SHOWS-CNV0-$-C4S VBUTB-ERARSUR, ou “Ftp RETS-ABee | ail - a z = o~ GRA-CY-LY- LK 3 » mm fanned 33 Ie 469 TESLA A ke ~ 8 epee y 1 bes BS WHI-MER AWALK, UW-A-TH: RAD-MD-TAE “aphumerey EHR LOH Pu470 ‘32> 6 8008-08, 5 pe be == » a oa bas EXTER AUER BIC 28 re y "7 Low6-DE: RAND LOW-1-0-CA-Lone f E = STRO-A-SU-AL ash ° ome-rs-eon ARE38 Hee Leas 419) 4 = BA E-OELLMAYD BEE472 go His ose DEYIN-DKSMEE | TARS-ET-H- Rec3 BUSEKOK DA SrA PaST we BF suena HE a AMER RATOR, SSSR b 2347h = ESLREARES “oosa-oTrint Riki va THEA T.OR CF Boy 00-74 Tie Was115 Sime “fama. AKER (atk arate 4. ICES NGSTR AREA476 SOLO FOR VOICE 49 SONG WITH ELECTRONICS (RELEVANT) DIRECTIONS: ‘This solo may be performed as @ song in a rectal not using the ofher solos for volce, in which case use the title given hove it. Sing without vibrato and using electronics (ordinary alr microphone) in the popular hi-fi manuer. Sing as written or in any desired (preferably lower) transposition. Within the tempo range given, choose one; then give it some tubato. Flay your own accompaniment hy tapping with fingers on a drum or table, etc. x means: knuckles. The text Is from the Journat of Henry David Thoreau. ++ equipped with contact microphone Copyright® 1970 by Henmar Press Inc., 873 Park Avenue South, New York, N.Y- 10016iT THE YEAR BEGUIS To 8 RIPE ae t aan. geod b Sa a i Saar ArT Te MeR ETE a eho HEY LT } Shooter Savata tea tate ) tor ‘NEN OY Boo eben eae gras ne178 SOLO FOR VOICE 50 SONG WITH ELECTRONICS (IRRELEVANT) DIRECTIONS (SEE SOLOS 35 AND 22) Vocalize and/or hum the melodies (Solo 35) as though you were busy doing something else or as though you hed forgotten the wordss Do not read the pitches as written: use any teanspositien(s). For the electronics interpret the large and small numbers as in Solo 22.3 See T° a q i a Gees See ? 3S Po ee oo}ert ig Qt ed= [eee 55° ee eee eee 2p psp pas PaaS 554 att (Sate ARs peieisllg Gaiety¥ LAL as eS Re w at a aJ See 18 3 pepe eer er eter a or ee ype pee pry parr pa a a ee ds ae ae Eee ofr iP ee ie Per: sain485 SOLO FOR VOICE SI ‘THEATRE WITH ELECTRONICS (RELEVANT) DIRECTIONS Play a recording of a forest fire.186 SOLO FOR VOICE 52 ona (RELEVANT) (Aria No. 2) DIRECTIONS ‘The aria may be sung in whole or In part to provide a program of « determined time-lengt. The notation represents ‘ume horizontally, pitch vertically, roughly suggested rther than accurately described. The lines include circled numbers 1-10. These represent 10 styles of singing. It ts suggested that number 1 he left as it is, and also number 2 (ine with paraite} dotted line), and thet numbers 3-10 be colored as follows: 3: dark blue; 4: red; 5. purple; 6: yellow; 7: green; 8: orange; 9: light blue; 10: brown. This will facilitate knowing what style to use, once ane has established ‘A relstion between color and syle. ‘The Heck squares are any noises (Yoamusleal" wee of the volce, susiliary percueeton, ‘mechanical or electronic devices, The text employs vowels and consonants and words from five langueges: Armenian, Russian, Italian, French (Satie), and English (Thoreau). All aspects of a performance (dynamics ete.) which ere nat notated may be freely determined by the singer. ‘These arias may be sung with the Fontana MIx, Concert for Plano and Orchestra, etc. Copyright @ 1970 by Henmer Press Inc., 373 Park Avenue South, New York, N.Y. 10016437 VARAK KAK NAD NEL VOSTRO DOLORE oy188KTEAD vu0su490 it SALOV-NAZOV KHIRGIZ DOLCEMENTE. SODA ; BALOV-NITBA ARTIC MAZERT NMAN REHANITOUT; JE RECOMMENCERATS TOUT Te eA HE OF WIND SETS. THEM FREE BAD NO RANGE, TKO af of ASTOR? ae TENDRESSE{92 AMCRE N AL MORDU, ESCA th THE ROSA NIGHT 201 al 5 SANS pAUCE OA me AT LAST: XZSVMZSDHN LA193 TAK SATOUE f vA IMO wecst MEME CERTAIN DRONA alg MOY GEHNEE,MOY AHNGEAL, MOY DRUGE194 TRC wen ALLEGRO STA TOUGH AS THEY. ARE IN TRE MORNING AFTER A TEBAUCH, eo ™2iy joe KARIMIAN a AAIRIGSOLO FOR VOICE 53 SONG: (RELEVANT) (Arla No. 25) DIRECTIONS (SEE SOLO 52)L FIGLI : fay ARS x owe KOU6 PRINCE NE oe RA PAS RICHE, LE PAUVRE ST PENSIERL | BS | LA SENSIBLITE.A wr498 RESTAL EH — cos] VOLETE, Cost SARA SA20 MUNATZ NAZUJE CRON; ¢ Oe i 2FHD Be DOULENENT BALANCE ARTIKX, PONMAGE STENT VZAW GRUD GOREETLASCIA AL COR LA LIBERTA min INCESSANTLY MOVING THEIR HEADS AND BODIES Va20h WAR); URARDUAN, @ wr ZABREET AK, SKAWROLJETA & VEZZOSA ARZOTCHAROVARNIA203 SOLO FOR VOICE 54 ‘THEATRE (RELEVANT) DIRECTIONS Leave the stage by golng up (flying) or by going down through @ trap door. Retum in the same way wearing an ‘animal's head,SOLO FOR VOICE §5 THEATRE, URRELEVANT) DIRECTIONS: Leave the stage and return by means of wheels (e.g skates, small auto). Let speed of exit and entrance be “normalSOLO FOR VOICE 56 SONG WITH ELECTRONICS (RELEVANT) DIRECTIONS (SEE SOLO 21) ‘Total duration: 1 minute and forty-six seconds. Make one very gradual electronic change from the beginning to the end.207 ‘SOLO FOR VOICE 57 (RELEVANT) DIRECTIONS Immobility (interior, exterior). If one does not have this, try obtaining it by yocalive and use of friend's names and famous names as words for any ‘commonly knavn tines sich as "Merrily we roll along," "America the Beautiful," etc., the tunes repeated many times, varying the words and sometimes inventing cadences. If that doesn’t work, take a nap on or off stage.SOLO FOR VOICE 58 SONG ((RRELEVANT) DIRECTIONS. Eighteen full range mlerotonal“ragas' (see Solo 14, though here one has buss and treble lets). They are double that Paar pact muy be used for ascending or descending, and ene can move freely {rom one side to another of a single Rugg and one can use as litte or a5 much of itas desired. The associated numbers axe ‘tales’ on the basis of which ‘inging and/or drumming may be improvised. Think either of the morning, the afterncos or the evening, giving ¢ Gesctiption or account of recent pleasures or beauties noticed, Free vocalise e160. freely varying them. Yor numbers geste: (au 2 ysake any docired divisions, opyright’9 1970 by Henmax Press Inc.» 379 Fark Ave. South, New York, N.Y. 1001653220 “ee 51a ao i SE i TET uFwo. SELA Fi25216ay